NATIONAL SENIOR CERTIFICATE GRADE 12 · Malaika. Answer the questions that follow. Malaika. Answer:...

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This memorandum consists of 21 pages.

MUSIC P2

NOVEMBER 2015

MEMORANDUM

NATIONAL SENIOR CERTIFICATE

GRADE 12

Music/P2 2 DBE/November 2015 NSC – Memorandum


INSTRUCTIONS AND INFORMATION 1. 2. 3. 4. 5. 6. 7. 8. 9.

This question paper consists of THREE sections: SECTION A: Aural (10) SECTION B: Recognition (12) SECTION C: Form (8) QUESTION 1, QUESTION 2, QUESTION 3 and QUESTION 7 are compulsory. Answer QUESTION 4 (Western Art Music (WAM)) OR QUESTION 5 (JAZZ) OR QUESTION 6 (Indigenous African Music (IAM)). Write all your answers on this question paper. Use a pencil for music notation and blue or black ink for the other answers. This examination will be written while candidates are listening to a CD. The music teacher of the centre must conduct the examination in the presence of the invigilator. The last page of this question paper is manuscript paper intended for rough work. The candidate may remove this page. Candidates may not have access to any musical instrument for the duration of the examination. Write neatly and legibly.

INSTRUCTIONS TO THE PERSON OPERATING THE SOUND EQUIPMENT

1. 2. 3. 4. 5. 6.

The instructions for the music teacher appear in frames. Each musical extract (track) must be played the number of times specified in the question paper. Allow adequate time between tracks to offer candidates time to think and write their answers before playing the next track. The number of the track must be announced clearly each time before it is played. If a school offers more than one stream (Western Art Music (WAM), JAZZ, Indigenous African Music (IAM)), the following guidelines must be followed: • Each stream must write the examination in a separate venue. • Each venue must be equipped with suitable sound equipment. • Each venue must have its own CD with musical extracts. • An invigilator must be present in each venue. • The tracks have to be played as follows:

- WAM candidates: Tracks 1–23 and Track 40 - JAZZ candidates: Tracks 1–11, Tracks 24–30 and Track 40 - IAM candidates: Tracks 1–11 and Tracks 31–40

A battery-powered CD player must be available in case of a power failure.



MARKING GRID

SECTION A: AURAL TOTAL MARKER MODERATOR

QUESTION 1 (COMPULSORY) 5


SUBTOTAL 10

SECTION B: RECOGNITION TOTAL MARKER MODERATOR


AND

QUESTION 4 (WAM) 8

OR

QUESTION 5 (JAZZ) 8

OR

QUESTION 6 (IAM) 8

SUBTOTAL 12

SECTION C: FORM TOTAL MARKER MODERATOR


SUBTOTAL 8

GRAND TOTAL 30



Note to marker: Candidates must be credited for any correct answers not given in the memorandum. SECTION A: AURAL QUESTION 1 Play Track 1 TWICE in succession.

1.1 Listen to the melodic and rhythmic phrase. Notate the rhythm of the missing

notes in bars 2–3 below.

Play Track 1 TWICE again. Pause for 30 seconds in between. Answer:

½ mark per beat = 3 marks

(3)

Play Track 2 TWICE in succession.

1.2 Listen to the first violin part of the extract from Haydn's Emperor Quartet. Fill in

the missing pitches that correspond with the music that you hear on the given score.

Play Track 2 ONCE more. Answer:

½ ½ ½ ½

(2) [5]

Correct notation = 2 marks (Minus ½ mark per mistake up to a maximum of 2 marks) Accept a turn symbol over an ‘a’ quaver in bar 33



QUESTION 2

Play Track 3 ONCE to provide a general overview. Listen to the extract from Malaika. Answer the questions that follow.

Malaika

Answer:



Play Track 4 TWICE. 2.1 Listen to bars 4–7. Name the cadence at 2.1. Answer:

Perfect cadence

Perfect cadence = 1 mark V – I = ½ mark

(1)

Play Track 5 TWICE. Listen to bars 12–19. 2.2 Name the interval at 2.2, for example Perfect 4th. Answer:

Major 6th Major 6th = 1 mark 6th = no mark

(1) 2.3 Which rhythmic device is used at 2.3 in bar 15? Answer:

Syncopation/Anticipation of the beat Syncopation/Anticipation of the beat / Off-beat = 1 mark

(1) 2.4 Write the note that has been omitted on the score at 2.4. Use the correct note

value.

Answer:

Notation: (see score) Notated note = 1 mark

(1) 2.5 Name the type of non-chordal note at 2.4. (Do NOT give the letter name.) Answer:

Passing note Passing note = 1 mark

(1) [5]

TOTAL SECTION A:

10



SECTION B: RECOGNITION OF MUSIC CONCEPTS

QUESTION 3: GENERAL LISTENING (COMPULSORY) Study the items in COLUMN A in QUESTIONS 3.1–3.6 for two minutes. If a candidate selected more than two items at a question, only the first two items must be marked.

Play Track 6 TWICE. 3.1 Mark TWO items in COLUMN A that relate to the music that you hear.

Make a cross (X) in TWO appropriate blocks.

COLUMN A Track 6 Major X Giocoso X Mbaqanga Cyclic chord progression X Twelve-bar blues Cool jazz

Any 2 = 2 marks (2)



COLUMN A Track 7 Membranophone X Adagio Chordophone Idiophone X SATB X Irregular time

Any 2 = 2 marks (2)

Play Track 8 TWICE. 3.3 Mark TWO items in COLUMN A that relate to the music that you hear. Make a

cross (X) in TWO appropriate blocks.

COLUMN A Track 8 Polyrhythm Marabi X Irregular rhythm Maskandi Swing rhythm X Call and response X

Any 2 = 2 marks (2)





COLUMN A Track 9 Homophonic X Coloratura Introduction X Irregular time Tranquillo X Harp

Any 2 = 2 marks (2)



COLUMN A Track 10 Presto X Adagio Bell X Shaker X Polyphonic Piccolo

Any 2 = 2 marks (2)



COLUMN A Track 11 Piano X Molto adagio Quadruple time Cello Triple time X Double bass X

Any 2 = 2 marks (2) (12 ÷ 3) [4]



Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM). QUESTION 4: WAM 4.1 Listen to the extracts from The Magic Flute by Mozart and answer the

questions that follow.

Play Track 12 TWICE. 4.1.1

Name the title of the aria that you hear.

Answer:

Der Vogelfänger bin ich ja I am the Bird catcher Correct title = 1 mark (any translation will be accepted) Only Vogelfänger or Bird catcher = ½ mark

(1) 4.1.2

Name the orchestral instrument that plays the following motif in the extract that you hear.

Answer: Piccolo/High-pitched pan flute Piccolo/High-pitched pan flute = 1 mark

(1)

Play Track 13 TWICE. 4.1.3 Which brass instrument do you hear in this extract?

Answer:

(French) horn Correct answer = 1 mark

(1)

Play Track 14 ONCE. 4.1.4

With which subgenre in opera music do you associate this extract?

Answer: Duet/Singspiel Duet or Singspiel = 1 mark

(1)



4.1.5 Name the characters who sing in this extract.

Answer:

• Pamina • Papageno

Pamina = 1 mark Papageno = 1 mark

(2)


Compare the melody sung by the first singer with that of the second singer. Name TWO differences.

Answer: • Melody sung by: Soprano and baritone (or change of timbre) • Second voice enters an octave lower • Second voice sings exactly the same melody except for a

melodic variation in the second half of the phrase (including modulation)

• Second voice sounds louder/ different dynamics Any two facts = 2 marks

(2) 4.2 Listen to the extracts and answer the questions that follow.

Play Track 16 ONCE. 4.2.1 Identify the genre of this extract.

Answer: Symphony/Orchestral work Symphony/Orchestral work = 1 mark

(1)

Play Track 17 ONCE. 4.2.2 Choose the word that best describes the mood of this extract.

Make a cross (X) in the appropriate block.

Tranquillo Agitato Piacevole Giocoso

Answer:

Agitato Agitato = 1 mark

(1)




Which ONE of the following playing techniques is featured in this extract? Make a cross (X) in the appropriate block.

Tremolo Con sordino Morendo Col legno

Answer:

Tremolo Tremolo = 1 mark

(1)

Play Track 19 TWICE. 4.2.4 Name the highest woodwind instrument that plays in this extract.

Answer:

Piccolo Piccolo = 1 mark


Play Track 20 ONCE. 4.3.1 With which ONE of the following do you associate this extract?


Mozart Beethoven Handel Haydn

Answer:

Mozart

Mozart = 1 mark

(1)



Concert overture Symphony String

quartet Concerto

Answer:

Concert overture

Concert overture = 1 mark

(1)





Chamber music

Modern music

Absolute music

Programme music

Answer:

Programme music

Programme music = 1 mark

(1)

Play Track 23 ONCE. 4.4 Identify the style period from which this extract is taken.

Answer:

Baroque period Baroque period = 1 mark

(1) (16 ÷ 2) [8]

TOTAL SECTION B: 12

OR



QUESTION 5: JAZZ 5.1 Listen to the extracts and answer the questions that follow.

Play Track 24 ONCE. 5.1.1 Identify the South African jazz style. Make a cross (X) in the

appropriate block.

Cape jazz Marabi Modern jazz

Answer:

Modern jazz Modern jazz = 1 mark

(1) 5.1.2 Name the type of compositional technique featured in the piano

part.

Answer: Ostinato/Riff Cyclic harmonic progression Any correct answer = 1 mark

(1)

Play Track 25 ONCE. 5.1.3 Name ONE idiophone that you hear in this extract.

Answer:

• Shaker • Cymbals/Hi-hat Any correct answer = 1 mark

(1)

Play Track 26 TWICE. 5.1.4 Name a musical feature that makes this jazz extract typically

South African.

Answer: • Typical African harmony: alternating chords I-ii • Percussive use of piano – mbira influenced • Traditional African rhythms used on drum kit toms • Mbaqanga-style influence • Use of repetition in the music material

Any 1 correct answer = 1 mark

(1)



5.2 Listen to the extracts and answer the questions that follow.

Play Track 27 TWICE. 5.2.1 Identify the South African jazz style.

Answer:

• Kwela • Township jive • Penny-whistle jive


(1) 5.2.2 Give TWO reasons, related to the music, to motivate your answer

to QUESTION 5.2.1.

Answer:

• Repetitive nature of the opening solo melody • Saxophone imitating the penny-whistle sound • Skiffle-like beat • Simple chordal strumming accompaniment by guitar/banjo Any 2 correct answers = 2 marks

(2)

Play Track 28 ONCE. 5.2.3 Describe the role of the guitar/banjo in this extract.

Answer: • Rhythmic strumming/keeping the beat • Chordal accompaniment throughout the extract • Maintains the harmonic cycle throughout • Rhythmic function • Accompaniment function • Harmonic function Any 2 for 2 marks

(2)

5.3 Listen to the extracts and answer the questions that follow.


Identify the South African jazz style.

Answer: Marabi Marabi = 1 mark

(1)



5.3.2

Give TWO reasons, related to the music, to motivate your answer to QUESTION 5.3.1.

Answer:

• Continuous repetition of music material above a rhythmic ostinato (riff)

• Cyclic harmonic progression • Mixture of Western instrumentation and South African vocal style • American big band influence heard in the saxophone and brass

sections

Any 2 correct answers = 2 marks

(2) 5.3.3 Name ONE vocalist that you associate with this extract.

Answer:

• Dolly Rathebe • Thandi Klaasen • Miriam Makeba


(1)

5.3.4 Name the voice type of the vocalist in this extract.

Answer: Alto Alto = 1 mark

(1)

Play Track 30 ONCE.

5.3.5 Mark TWO items in COLUMN A that relate to the music that you hear. Make a cross (X) in TWO appropriate blocks.

COLUMN A Track 30 Ragtime Introduction X Trumpet improvisation Instrumental riffs X Soul Brothers Walking bass X Organ

Answer:

• Introduction • Instrumental riffs • Walking bass

1 mark for each correct answer = 2 marks Consider only the first 2 crosses if the candidate makes more than 2.

(2) (16 ÷ 2) [8]

TOTAL SECTION B: 12 OR



QUESTION 6: IAM 6.1 Listen to the extracts and answer the questions that follow.

Play Track 31 TWICE. 6.1.1 Identify the South African style. Make a cross (X) in the appropriate

block.

Marabi Malombo Isicathamiya

Answer:

Malombo Malombo = 1 mark

(1) 6.1.2 Identify the aerophone in this extract.

Answer:

Flute Flute = 1 mark

(1) 6.1.3 Name an artist associated with this extract.

Answer:

• Philip Tabane • Sello Galane • Mabu Thobejane • Abi Cindi • Julian Bahula Any correct answer = 1 mark


Play Track 32 ONCE. 6.2.1 With which type of African song do you associate this extract?


Wedding song

Work song

Children's song

Funeral song

Answer:

Children's song Children's song = 1 mark

(1)



Play Track 33 ONCE. 6.2.2 With which type of African song do you associate this extract?


War song

Celebration song

Initiation song

Work song

Answer:

Work song Work song = 1 mark

(1) 6.2.3 Listen to the following TWO tracks which will be played twice in

succession. Complete the table below. Identify the voice type, compositional technique and percussion instrument in EACH track.

Play Tracks 34 and 35 TWICE in succession. Track 34 Track 35

Voice type

• Female voice/ (mezzo) soprano

• Female solo and group

• Female voice/ (mezzo) soprano

• Female solo and group

Compositional technique

• Call and response • Repetition

• Call and response • Repetition

Percussion instrument

• Shaker • Whistling

(Crepitation)

• Body percussion (Clapping hands)

1 answer per block = 6 ÷ 2


Play Track 36 ONCE. 6.3.1 Name the style that you hear in this extract.

Answer:

Isicathamiya Isicathamiya = 1 mark

(1)



6.3.2 Give TWO reasons, related to the music, to motivate your answer

to QUESTION 6.3.1.

Answer: • Choral-style singing • Lyrics in isiZulu • Call and response singing between the leader and the group • A cappella

Any 2 correct answers = 2 marks

(2)

Play Track 37 ONCE.

6.3.3 This extract represents the modernisation of a traditional indigenous African style. Describe ONE way in which the modernisation has been achieved.

Answer: • Accompaniment added to traditional a cappella style • Beat boxing added • Female solo voice added to traditional male-voice sound • Improvisation by female voice • Fusion of styles


(1) 6.4 Listen to the following extracts. Name the style of each extract and compare

the difference in tempo between the two extracts.

Play Tracks 38 and 39 TWICE in succession. Track 38 Track 39

Style Free kiba Maskandi

Tempo Slow Moderately fast

Style: 1 x 2 = 2 marks Tempo: 1 x 2 = 2 marks

(16 ÷ 2) (4)

[8] TOTAL SECTION B: 12



SECTION C: FORM QUESTION 7 Read and study the questions for ONE minute.

Play Track 40 ONCE to provide an overview. Listen to the arrangement of the Habañera by Georges Bizet while you study the score.



Play Track 40 again.

7.1 What is the form of this piece?

Answer: Binary/AB form/AAB Binary/AB/AAB form = 1 mark

(1) 7.2 Motivate your answer to QUESTION 7.1 by giving a schematic layout of the

form of this piece. Use the table below.

Answer:

Section Bar numbers A 11–181a

B 181b (19) –26

1 mark for each correct section = 2 marks ½ mark for each correct bar number = 2 marks

Alternative answer Section Bar numbers Introduction 1–21 A A1

22–101 102–181a

B 181b (19) –26 Note to marker: If the bar numbers and the section letters do not correspond ½ mark will be awarded for A and ½ mark will be awarded for B.

(4) Play Track 40 again.

7.3

Comment on the tonality of this piece. Answer: • Two keys: D minor and D major • D minor and tonic major are used

D minor = 1 mark + D major = 1 mark = 2 marks OR Only 'Two keys' (parallel) change from minor to major = 2 marks

(2)


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7.4

Which ONE of the following terms describes the compositional technique used in the bass part? Make a cross (X) in the appropriate block.

Answer: Ostinato

Ostinato = 1 mark

Syncopation Inversion Ostinato Augmentation

(1)

Play Track 40 one last time. [8]

TOTAL SECTION C: 8 GRAND TOTAL: 30

NATIONAL SENIOR CERTIFICATE GRADE 12 · Malaika. Answer the questions that follow. Malaika. Answer:...

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